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Glenn Thompson 

Through this method I hope to open the door to a new type of harmonic technique and knowledge 
for the guitar. There has been a shortage of good constructional harmonic material that develops the 
hand mechanically and increases the knowledge musically. All exercises presented in this volume have been 
carefully tested through years of teaching. Each one has a definite purpose for development of the hand, 
no matter how insignificant it may seem to the student. 

The exercises are given in condensed form to save space and also to encourage and develop independent 
thinking on the part of the student. They are written in one key but are to be played in all the keys, 
as shown in the explanations accompanying the exercises. Think of the tonic of every key as "do”; this 
is called the Solfeggio system. Therefore if you are in E flat, consider the E flat as "do”. Through this 
system all keys are equal and therefore you will not favor any particular key or keys. Some of the exer¬ 
cises in this method are written in whole notes with no dividing bar line but should be practiced at a slow 
even tempo. Succeeding volumes are in preparation for publication in the near future. 

George Van Eps 



Holding the guitar correctly is a point that should be studied very carefully because there are many 
important factors to be considered, the first of which is comfort. It is almost impossible to work freely if 

you are trying to support or hang 
on to the guitar with your hands. 
The normal technicalities of the in¬ 
strument are difficult and tiring 
enough without an awkward posture 
to make them more so. Here is the 
correct posture. Sit in a straight- 
back chair of medium height and 
then cross the left leg over the right 
so that your left knee rests on your 
right knee at the same time keeping 
your right foot flat on the floor. 
Then place the body of the guitar 
on your lap so that the lower hollow 
fits the left leg and the upper hollow 
rests against the right side of your 
chest. In this position the left leg 
may go to sleep, at first but this 
won't bother you for long. The body 
of the guitar should be on an angle 
of approximately twenty degrees in relation to your torso and the scroll should be on a level with your 
shoulder, but slightly forward. Never lean back in the chair, lean slightly forward always, as this helps to 
hold the instrument securely. After following these instructions the guitar should balance on your lap 
by itself. (Fig. No. 1.) 

- 2 - 


Bring the right arm up until the elbow rests very lightly on the top edge of the body. The end of 
your hand should now be half way between the bridge and the end of the fingerboard. The inside of 
the wrist should be approximately two inches above the string level. Fold the fingers of the right hand 
under, but not so far as to have them touch the palm of the hand. For example, wrap the fingers of the 
right hand around a broom handle, bending the fingers from the first and second joint. After doing this 
remove the handle and notice the position of the fingers. The result should be the correct curve. (Fig. 
No. (2.) 

Now place the pick on the first joint of the first finger so that the horizontal axis is parallel to the 
back of your hand. Then place the end of your thumb (approximately 3/4 inch) on the pick so that 
there is a half inch of the pointed end showing. Do not hold the pick too tightly as it must be allowed to 
oscillate rather than bend. In a complete wrist action the wrist imitates a twisting motion with each stroke, 
very much like flicking something off your hand. See that you use a quick and accurate stroke, eliminating 
all excess movement because you want the notes to sound simultaneously, not one by one. When playing 
on inside strings use the next highest string as a pick-stop. The axis of your wrist should be directly over 
the highest note as the top note should predominate. In other words if you are picking the B, D, and G 
strings as a triad, the axis should be over the B string with the result that the D string will sound softly, 
the G string a little louder, and the B string will be the loudest, which is dynamically correct. 

- 3 - 


In studying this booh it is necessary to bear the following factors in mind as they will not be mentioned 
in the explanations of the exercises. The fundamentals do not change in the different exercises, but the 
situations do. There is only one correct way to place the fingers on the fingerboard. Drop your left hand 
down alongside your body entirely relaxed. Now bring it up slowly leaving the fingers curved (slowly 
twisting it counter-clockwise) until your thumb touches the neck halfway between the body and the nut. 
The thumb must ride approximately one-third of the way around the neck from the bass side. Never 
let your thumb extend above the fingerboard level, and never let it travel more than halfway around the 
curve of the neck. Your knuckles should be almost parallel to the side of the neck. Now place your 
fingers on the fingerboard in an arched position, not trying to finger anything, just letting them rest there. 
Slide your hand slowly up the neck toward the body. When your hand touches the body of the instrument 
your elbow should be next to your torso. Now slide along the neck slowly with your elbow traveling at 
just half the speed of your hand. This principle is similar to the hour and minute hand of a clock. If 
this is properly applied you will notice the position of the hand will change very little in relation to the 
neck. This is of great importance in the development of mechanical perfection. 

The fingers must be arched until just the tips rest on the strings so that they work up and down ham¬ 
mer-fashion seating just back of the frets, not in between and not on top. Bend your left thumb back 

slightly so that only the ball or fleshy 
part touches the neck. Do not hug 
the neck with the inner part of the 
hand. It is necessary to keep the 
fingers suspended over the finger¬ 
board at all times. Do not let them 
stand up straight, curl under the 
fingerboard, or wander in any fash¬ 
ion. The correct place is approxi¬ 
mately one-half inch above the 
strings for in this position they are 
always ready to operate. This greatly 
improves accuracy of the fingers. 
Here is a practical example of this 
principle. If you suspend an object 
above a designated spot and dropped it, wouldn’t your accuracy be far greater than if you stood a few feet 
away and threw the object at the spot? The wrist must be kept straight at all times except when executing 
a very long reach. Your hand is like a piece of machinery which can develop mechanical trouble if thrown into 
odd positions. Those little push-rods in the back of the hand that operate the fingers must have a straight 
course if expected to work properly. Besides being correct, the straight-wrist posture is more comfort¬ 
able and natural when you get used to it. (Fig. No. 3.) 

- 4 - 

It is important to remember that the exercises in this book should be practiced very legato. In order 
to do so, the notes must be given their full value and must be connected with no pause between them. The 
changes from formation to formation must be executed in the least amount of time. Do not stint the value 
of the notes in order to give yourself time to make the next formation. In making these quick shifts, do 
not rush the tempo. Plant your fingers solidly and firmly on the fingerboard. After releasing the pressure 
on a formation get used to forming the next position while the hand is in motion. Do not wait until the 
hand arrives at the location before forming the fingers. This saves time and naturally goes hand in hand with 
the legato principle. 

The reason legato is being stressed so much is because it is the hardest form of phrasing for the guitar. 
Stacatto, the reverse, is the natural form and therefore the easiest one. In practicing legato remember to 
re-apply the pressure for each formation. Do not slide around holding the pressure, yet do not go to the 
extreme by lifting the fingers too far off the strings during the change. Eliminate all waste motion with 
the fingers. The closer they are to the fingerboard, the less time it takes to place them. The mechanics 
of these exercises have been carefully planned and tested. 


A clean smooth technique depends upon a good firm attack which is accomplished only when both 
hands work in perfect unison. To fret a note or chord before picking it produces a poor tone and limits 
the speed of the hand. In the correct attack the pressure is applied the instant the pick strikes the string. 
Always apply the pressure quickly with a deliberate snap, like a trigger releasing a strong spring. In the 
exit of a note or chord, the pressure must be released as quickly as it was applied because a slow release pro¬ 
duces a bad buzzing sound, especially when working on the lower strings. The pressure release must be 
straight up off the fingerboard and not slanting in the direction of the next position, otherwise a slurring 
effect will be the result. 

- 5 - 


In this method the strings are listed in groups, or sets (see the chart), and for each set there is a symbol, 
either numerical, alphabetical, or both. This system has to be used because of the many different locations 
to play the same notations. For example, the C major triad with the first finger on the second fret of the 
B string, the open G string, and the second finger on the second fret of the D string, can be played in three 
different positions using the same voicing. In exercises where the second half is fingered in reverse of the 
of the first, markings will appear only in the first half. Set, pick, and finger markings remain good until 
changed. Some of the exercises have no markings, but are referred back to previous exercises for the fing¬ 


Showing the different sets of strings and their symbols. 
The x’s designate the strings used in each set. 

E A D G B E 





































































1st set of 3 (113) 

2nd set of 3 (2|3) 

3rd set of 3 (313) 

4th set of 3 (4l3) 

1st set of 4 (l|4) 

2nd set of 4 (2|4) 

3rd set of 4 (3|4) 

1st set of broken 3 (1 |B3) 
2nd set of broken 3 (2|B3) 
3rd set of broken 3 (3Bj3) 
broken 1st set of 3 (Bl|3) 
broken 2nd set of 3 (B2|3) 
broken 3rd set of 3 (B3|3) 
1st set of broken 4 (1 |B4) 
2nd set of broken 4 (2jB4) 
1st set of broken 2 (1|B2) 
2nd set of broken 2 (2|B2) 
3rd set of broken 2 (3|B2) 
4th set of broken 2 (4jB2) 



(A| 3 ) 

- 6 - 


Remember to treat all the exercises, written and referred to, as separate studies. Do not skip over any 
’ of them because you will only have to come back to them later on, which is not the desired course. Another 
important point is che fact that learning and practicing a study are two different things. When learning 
an exercise you are teaching the fingers their respective locations. After that time you start practicing 
to perfect what you have learned, which is the real practice. You derive the most benefit from an exercise 
when you can practice it for ten or fifteen minutes without a break and with comparatively few errors. 
A mistake is a bad habit because it makes you conscious of that particular place wherever it may have oc- 
cured. It is natural to concentrate your efforts on that one place and by doing so, mistakes may be made 
in other places. To avoid this, practice an exercise very slowly for a long time. This gives you time to think 
of all the points thus establishing the foundation for a good, clean technique. This can only be had by 
practicing slowly and gradually increasing the tempo, at the same time never practicing an exercise faster 


than you can play it correctly. 

To start with, your practice periods would be a half-hour in the morning and a half-hour in the 
afternoon. Increase to forty-five minutes after a month’s time. Build your practice time up so that after 
three months you are practicing in three forty-five minute periods, and in five month’s time, in three one 
-hour periods per day. Never practice more than an hour in one period, as the mind becomes dull after 
that time and is no longer receptive. Three hours a day of the right kind of practice is sufficient, though 
more time will not hurt, providing you follow the rules just mentioned. After a concentrated hour of prac¬ 
tice your mind, as well as your fingers and hand, should be tired. 

In order to obtain the best results, do not rush through this book. Take three exercises (forms) 
per week as regular lessons. Each week take three more, while still practicing the preceding exercises, etc. 
Keep building this way, never dropping an exercise, as you will need the technical as well as the musical 
knowledge contained in all these studies to have a ready technique. 

- 7 - 


See before EX. 48 

EX. 1 

The first exercise is a harmonized major scale in triads using six different fingerings. The first form is 
on the second and first sets of three strings. (See notations below the staff.) The second form of Ex. 1 is 
played entirely on the second set of three strings. The third form is played on the second and first sets of 
three strings but varies from the first form because the cross-over is on a different note of the scale. The 
fourth form is on the third, second and first sets of three strings. The notation in all the forms of the 
first exercise is the same but the fingerings are different in each one, and should be practiced as separate 
exercises. You will notice that the first four forms of Ex. 1 are long forms which cover quite a bit of the 
fingerboard. The fifth form is more condensed and the sixth form is the most condensed form of this harmo¬ 
nized scale. This first exercise is written in whole notes with no division of bars because the notes are of equal 
value and should be practiced very slowly. Ex. 1 and all its forms should be played in all the keys, made 
possible by the six different fingerings, as follows: 

1st form—from C up to F 

2nd form—from C up to C sharp (D if possible) 

}rd form—from C up to F 

4th form—from A flat up to D flat (D if possible) 

5 th form—from A flat up to E 

6th form—from F sharp up to C sharp 

It is necessary to become familiar with all these forms as they will be referred to often. 


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- 8 - 

EX. 2 

F.». No. 2 n a preparatory exercise. This form of picking is termed arpeggio picking. To get ac¬ 
quainted with dm form for the right hand, it is used on open strings so that you have to concentrate only 
on the pick and wrist action. It should be developed to sound even dynamically and steady rhythmically. 
To the pick and wrist action in Ex. 2 is difficult as we do not actually pick each string individually. 

The pick p*"* over each string and accents it with a slight kick, which is more of a pulsation. The reason 
for this is that using the pulsation principle you will be able to maintain a steady tempo and you will not 
strike two strings at once, as you might do if you were just forcibly pushing the pick across the strings. In 
other words it should have a smooth but deliberate effect. If and when you do strike two strings to¬ 
gether, you will know that you’re not "pulsating” properly, if at all. In the down strokes, use the next 
highest string as a pick stop. In the up strokes, you will not need a stop as the pick returns in in upward 

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- 9 - 

Ex. 3 

This is the harmonized scale combined with the arpeggio picking and it should be practiced in six 
fingerings, the first of which is shown in the exercise. The other five are to be found in the forms of Ex. 1. 
Practice all six forms as separate exercises. You will notice that at the beginning of each measure you will 
find a triad in parenthesis combining the notes in that measure. This shows that it is a chord formation and 
is not a single string fingering. Practice this exercise in all its forms slowly. Also make sure that the notes 
are of equal value, as the tendency is to skij> over the last note in each measure in order to get to the next 
position in time. Practice all these exercises as legato as possible, which will necessitate a quick accurate shift 
from one position to another. 

EX. 5 

Care must be taken in maintaining an even tempo, as every other measure is in arpeggio picking and 
the natural tendency is to hurry the whole notes. Count four beats for the first measure just as you 
would for the second measure. Also practice in all the fingerings found in the Ex. 1, and in all the keys. 

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EX- 7 

This exercise develops judgement of distance with the left hand. Note that the gap between the first 
and the second triad is an octave which when played in the long form is a long jump. Care should be taken 
in making sure that the fingers light surely and firmly. In the condensed form you do not have the haz¬ 
ard of a long jump between first and second triads, but crossing over the sets of strings to jump the oc¬ 
tave p r e sen ts a different problem as this must be done cleanly. This is to be played in all six fingerings and 
in all die keys as found in Ex. 1. Later employ arpeggio picking. 

- 11 - 

EX. 8 

A rhythmic form of the scale. When practicing bear in mind all the previous explanations and warn¬ 
ings. Note that the scale goes through a rhythmic cycle, which is very fine practice as the "half-time” 
provides a breathing spell before the next burst of speed. To be practiced in all the different fingerings and 

- 12 - 

EX. 10 

This exercise should be practiced carefully as it is very confusing because of the fingering changing 
within itself. Practice in all keys. Later employ arpeggio picking. 

EX. 11 (Two forms) 

To be practiced very slowly, paying strict attention to the markings. Later employ arpeggio picking. 

EX. 12 (Three forms) 

This exercise is in two sharps because that is the lowest form of the harmonized scale on the guitar. 
After all the forms have been perfected join them up with the harmonized scale an octave higher and 
practice without a break. You will then be able to run two octaves in the harmonized scale. Later employ 
arpeggio picking. 


- 13 - 

EX. 13 (Two forms) 

The first form was especially designed for strengthening the third and fourth fingers. The second form 
is difficult in the high register and therefore good practice. 




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EX. 14 (Three forms) 

This exercise has a definite purpose and should bepracticed very slowly and carefully. The upper (me¬ 
lodic) line is in half notes while the two lower voices are in whole notes. Make sure they sustain their full 
value. Practice all three forms equally as the purpose throughout this method is balanced technique. 

EX. 15 (Two forms) 

This is practically the same as Ex. 14, the difference being that in this exercise we modulate a half tone 
up and a half tone down at each two-bar phrase. Practice in all keys. Go from one key to another without 
a stop. 

- 14 - 

EX. 16 (Three forms) 

This exercise must be practiced very carefully as we introduce a new principle .in'the first two forms 
which is the "breaking” (or flattening from an arched position) of the first joint of the fingers. In 
the first form at the second and third measures, you flatten the first joint of the second finger to produce 
the added note, which brings this principle into the classification df a fifth finger. It is a very difficult 
maneuver because the finger that is doing the flattening must sustain another note during the process. In 
the second form, in the first and last measures, the third finger does the flattening which is also very diffi¬ 
cult. This flattening principle must be practiced methodically as it must be reliable rhythmically and should 
be done with a snap. Do not skip over this principle as it is very important. Practice very slowly. The 
third form does not employ this principle but should be practiced just as carefully. 

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EX. 17 (Two forms) 

This is the modulating form of Ex. 16. The same principles should be applied, making sure that the 
point of modulation is clean and distinct. Do not slide the left hand in the modulation. It should he a fast, 
accurate change. The pressure should be released for just a fraction of a second during the change. Practice 
in all keys. 

- 15 - 

2\3 3|3 4|3 313 2|3 l|3 l|s 2|3 113 3|8 

20 40 SB 2(3 

EX. 20 

A variation of the major scale with the top voice in quarter notes and the bottom voices in whole 
notes. Be very careful in this exercise as the finger flattening principle will be ■ doubly hard There are 
no markings in this exercise because it should be practiced using the four different forms found in Ex. 18. 
Practice in all keys. 

- 16 - 

EX. 21 

This is a lower form of the major scale built on the tonic chord. It should be practiced up to the key 

of C. 

Key of F 


EX. 22 

A variation, of Ex. 21. Apply the same principles. 

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EX. 23 (Three forms) 

This major exercise was especially designed to strengthen the fourth finger. To be practiced in all 


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EX. 24 

A modulating form of Ex. 23, in which the same principles are to be applied. Practice using all the 
forms found in that exercise. 

ft ,r!3*i lA - 'A t»U .JhU iaM aU 4 d U«I 

EX. 25 

A variation of Ex. 24, to be practiced utilizing the fingering found in Ex. 23, just as you did in in 
ErX* 24 ^bovc. 

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- 17 - 


EX. 26 

Starting a harmonized minor scale study in six different forms. Pay close attention to the markings 
in these forms as they are very confusing and difficult. Watch the movement of all the fingers closely. 
Give this exercise the same treatment as Ex. 1, such as arpeggio picking, etc. Practice in all keys. 

- 18 - 

EX. 28 (Three forms) 

This is a lower form (in pitch) of the harmonized minor scale. Practice very carefully as some of 
the fingerings, though correct, are confusing. Practice this also with the arpeggio picking and in all keys. 


EX. 29 (Three forms) 

Another low form of the harmonized minor scale. It should be given the same treatment as Ex. 28. 



- 20 - 

.LA. JU (six lorms; 

A different harmonization of the minor scale which, like the other scale studies, is in six forms. 
To be given the same treatment as Ex. 1. 

EX. 31 (Six forms) 

The harmonized minor scale built on the tonic chord. To explain this more clearly in case of doubt, 
it is written in the key of D minor (using accidentals), using the tonic triad only, as harmony. Practice each 
form carefully as each fingering presents different hazards. This exercise is to be practiced in all keys. 


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- 22 - 


EXS. 33 & 34 

Built on the seventh arpeggio which takes in the entire fingerboard. These exercises cannot be played 
in all the keys in their original form but can be moved up and down the fingerboard by leaving out the 
first measure when descending (if too low) and leaving out the fifth measure when ascending (if too high). 
Ex. 33 is in one form and Ex. 34 is in four forms. Practice the fingerings in Ex. 33 using the same no- 

EX. 35 

A short seventh arpeggio in triads. You will notice that the fingerings in this exercise fall right under 
the hand. Pay special attention to the markings as this exercise uses alternate picking, which means that 
the second and fourth triads in the measure are played with up-strokes. Practice in all keys, descending 


- 24 - 

EX- 37 (Two forms) 

This k die first of a series of stretching exercises. You will notice that the middle note remains the 
same while die other two voices move around the middle voice in chromatic tenths. This is the first exercise 
using a broken set of three strings. (See page 6 ). Pay close attention to the set markings under the staff 
in all these exercises. Practice in all keys in straight down strokes, then with arpeggio picking. Be careful 
in the latter as you have to jump over a string with the pick. This must be done smoothly. 

- 25 - 

EXS. 38 & 39 

Ex. 38 is in one form and Ex. 39 is in two forms. Give these exercises the same treatment as given Ex. 

37 Practice in all keys. 

EX. 40 (Two forms) 

Contrary motion is introduced in this stretching exercise. This comes more under the heading of hand 
gymnastics. Constant practice of these two forms will definitely increase the spread of the fingers, partic¬ 
ularly in the first form. Though dissonant in spots, it is correct. Practice in all keys which is made pos¬ 

sible by the two forms. 

EX. 41 (Two forms) 

This is related to Ex. 40 inasmuch as it is a stretching exercise with similar structure. The garn#» princi¬ 

ples are to be applied. 

EX. 42 (Two forms) 

Contrary motion is again employed in this exercise. Observe all markings carefully. Practice in all 



£A. 43 

This is the same notation as Ex. 42, but an octave higher. Apply the same principles. 

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EX. 44 (Two forms) 

Introducing a new type of picking which is very hard to gauge, therefore it will develop accuracy 
with the pick. Although this exercise is written in 8th triplets, practice very slowly at first. Note the new 
set markings under the staff. They refer to the chart on page 6. Pay special attention to the mechanics 
of this exercise._Practice in all keys. 

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EX. 45 


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Contrary motion is again employed. This exercise starts on the seventh triad, goes through a progression 

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EX. 47 (Two forms) 

The lower three notes of this exercise are identical with Ex. 46, but we have added a stationary note on 
top which makes it necessary for this to be prac ticed as a new and separate exercise. Observe all markings 
carefully and practice slowly in all keys. 


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EX. 48 

Starting the diminished study of this volume. These first two exercises on the diminished triad are 
very important. As you know the diminished chord repeats itself every four frets. Therefore it is necessary 
to have a good foundation in order to judge the distance between triads. You will notice the fingering re¬ 
mains the same throughout this exercise. The jumps should be fast and accurate with the fingers solidly im¬ 
planted each time. In other words, look out for slides. The first finger should rest just above the fourth 
string, not riding it, but suspended a little above the string. Practice slowly. 


EX. 49 

The same principles apply in this exercise as in Ex. 48 except for the finger .suspension, which is re¬ 
versed. This time the first, second and third fingers do the work, and the fourth finger u poised just above 
the first string. You may have to spend a lot of time on these first two ^iminwtwyf exercises to get the 
two idle fingers to lie in readiness. This is important and must be practiced until p er fe c t . 


EX. 50 

You will notice in this exercise why the finger training in Exs. 48 and 49 is necessary. Those exer¬ 
cises are combined in this one, in a one for one order. The first and fourth fingers should alternate like the 
ends of a rocker arm. In other words the first finger should remain down until the fourth comes down, but 
make sure there are never four notes sounding not even for a fraction of a second. With this fingering 
the exercise can be played very legato. Down strokes should be used throughout until thoroughly acquain¬ 
ted with the exercise, after which time alternate picking should be used, with the up-strokes falling on the 
second and fourth triads. Observe all markings carefully and practice slowly. 

2|3 1|3 2|3 l|3 2|3 1|3 2|3 113 


EX. 51 

Our previous diminished fingerings play an important part in this exercise, which is in cycles with seven 
triads in each cycle. Markings will be found in the first cycle only as the set and fingering markings are 
the same in the rest of the cycles. Practice with down-strokes until thoroughly acquainted with the exer¬ 
cise, then use alternate picking, as explained in Ex. 50. Practice slowly. 

- 29 - 

EX. 53 

A rather unusual fingering is introduced in this exercise which will have to be practiced rationally as it 
is tiring at first. Make sure that all the fingers except the second are arched. Don’t be alarmed if the first 
joint of the second finger aches slightly while it is learning to bear the strain. The fingering remains the 
same ascending until the octave is reached, then reverses and remains the same descending until the starting 
point is reached. 

" ' J U i ti Ai A iM i 

s y y y 

y y i>y y i y i ,.y y = y y 



r 4iiKTBili 



MMH BAfl * 1 SMKM 




' ■ i i 1 i i i'ii 

EX. 55 

The diminished scale which ascends differently than it descends. Read the notes carefully as they 
may sound wrong at first. Don’t depend on your "ear”. You may have difficulty in forming the as¬ 
cending formation. To avoid this, over-spread rather than under-spread your fingers. The descending 
fingering is less ‘difficult. In the second form, the ascending fingering is difficult and the third finger may 
be sluggish, so practice this form very slowly to provide time for concentration on the movement of that 

fi «S er - « V □ V , | I ,, I * J , l l . I I , . 


y y ks y y j #j. 


yyi>y yy?yy y 





l^^V. ) u 

The chromatic diminished scale in this form is one of the most difficult exercises so far, inasmuch as you 
have to play two notes in succession with the first finger. The difficulty here is in making these two notes 
sound as though they were fingered with two fingers instead of one. This can be done by making the move¬ 
ment very fast without sliding or slurring. Practice slowly. 







EX. 57 

In this exercise the top line is in quarter notes and the harmonic structure is in whole notes. Make sure 
the whole notes are held for their full value. Check once in a while to make sure all three notes in the triad 
are sounding. This exercise increases the reach of the fourth finger. This finger will have a tendency to 
lay flat when it should be arched. This may be a strain at first but it can be developed through work. 

EX. 58 (Two forms) 

This is the first diminished chord exercise in open voicing. It is necessary to * "deaden” a string. This 
is taken care of by the fingering. For instance, in the first form the D string (IV) is stopped from vi¬ 
brating with the second finger while that finger is used for the note on the A (V) string. Practice slow¬ 
ly and observe all markings. 


n v 

1 n i. „ 

. m f "ffe = p|lPl 






i i 


nf -f 





*i.e. The pick strikes that string, but the left hand finger does not let it sound clearly. 

- 31 - 

EX. 60 (Two forms) 

In this exercise the moving voice is in the middle of the structure, which presents a difficulty as the 
up-stroke must pick the middle note while the two outside notes are sounding. Make sure you do not 
deaden either of the sustaining voices with the up-stroke. This is accomplished as follows: After the down 
-stroke the pick should travel in a small returning arc around the upper string so you will not touch it 
and stop its vibration. Then with the descending backward motion the pick will strike the middle note 
safely. Use a complete wrist action. 

EX. 61 

The general structure of this exercise is identical to Ex. 60. The difference lies in the moving voice 
and the fingering. Apply the same principles. 


- 32 - 

EX. 62 

This is the same in every respect to Ex. 61 except that it is on the second "broken set of three 
stead of the third set and therefore pitched higher. Apply the same principles. 

■ Elill] 




i«c %i 

EX. 64 

The preceding three exercises are combined in this one, covering the entire finger-board. Practice 
very slowly and make sure the middle voice is clear and crisp. After this exercise is well practiced and you 
are thoroughly familiar with it, try changing the cross-over points. 



ir^i i«ii 


% ] 

IM: $ 2 : h J- It 

■ i«r/i 

- 33 - 

EX. 66 

A great amount of accuracy for the right hand is developed in this exercise through the type of pick¬ 
ing employed. After you have sounded the first and second notes in the measure, the third and fourth fingers 
of the left hand should be right above the frets ready to drop into place. In other words, have the fingers 
formed before the two fingers drop and make sure they come down together firmly. Do not merely lay them 
down but snap them down hammer-fashion simultaneously with the pick stroke. Give the notes their full 
value and practice slowly. 

EX. 67 (Two forms) 

You should be familiar with the first half of each measure in this exercise, but inasmuch as the second 
half in new, practice the whole exercise as an entirely new study. Even when you are iamfliai with both 
groups it will still take considerable practice to combine them correctly. 










EX. 69 

This exercise is in contrary motion, going from a closed to an open form of major chord, and then re¬ 
turning. It offers a great amount of variety in finger formation which develops accuracy and agility. 
Practice chromatically up and down the fingerboard. 

dim. min 7f/h mai. 

1 xr 1 pTF 1 



1 XT 


EX. o 70 (Two forms) 

This study is beneficial in more ways than one as it develops accuracy, agility, and timing. In the 
last half of the second measure the middle triplet triad is sounded with an up-stroke. Make sure all 
three notes sound. In the first form, the first triplet in the last half of the second measure should be prac¬ 
ticed using the first, second, third and fourth fingers alternately. The proper way to do this is to use the 
fourth finger the first time through, the third finger the second time, etc. Do not apply this in the second 
form because the fingering will not match. Practice slowly in all keys. 





EX. 71 (Two forms) 

The first form of this exercise was designed to develop the third and fourth fingers, and the second 
form for the fourth finger alone. Practice slowly at first in all keys. When speed is developed in these 

two forms, the top line becomes a moderate trill. 

form i in i 4 4 4 ? 1 ,i ai ,J_ ,r U U J. 4 

i.A *44 

4 4 -tAiAiAiA hkAiAiAiA lAiAiAA. 

FORM 2 2 

EX. 72 

This is Ex. 71 inverted. It develops the third and fourth fingers for long range accuracy. Be very 
careful in placing the fourth finger each time as it may deaden the next string. The picking is very touchy 
in this exercise as you have to cross over the triad and sound the D string with an up-stroke. Practice chro¬ 
matically up and down the fingerboard. Practice slowly. 

EX. 73 (Three forms) 

This exercise is built on half the scale and is, in general, good for developing the hand. You will 
notice that the under structure is in thirds. Make them clear and legato. The third form is particularly 
valuable for the hand as you play the exercise without the use of the first finger. Practice slowly in all 

- 36 - 

■■L% ] 

EX. 75 (Two forms) 

This is identical with Ex. 71 but an octave lower. More pressure has to be applied when playing on the 
lower strings in order to obtain a clear tone. Practice carefully. 




EX. 76 (Two forms) 

Identical with Ex. 73, but an octave lower. Practice slowly in all keys. 



EX. 77 (Four forms) 

A variation of the last half of the major scale. Forms 3 and 4 are identical in notation but an octave 
lower than forms 1 and 2. Practice each form up and down the fingerboard as far as possible without using 
open strings. Practice slowly at first. 




■ i fcMVi 



PM V. 

- V 


iMrj i 


[i — 3 -J- ni 4 -^ * J- 


EX. 80 

The augmented chord with the whole tone scale as a melody. Form 1 is on one set while Form 2 
takes in all "sets of three”. You will notice in Form 2 that the patterns on the fingerboard are all related 
and closely located. Practice very legato making the cross-over quickly and accurately. Practice Form 
2 chromatically up and down the fingerboard. 


l I .. 


EX. 81 

This exercise is very beneficial because of the wide variety of fingerings and hand gymnastics. Pay 
close attention to the fingerings and markings and do not try to practice it too fast. Benefit is derived 
from an exercise only when you can go through it without stopping, no matter how slowly you have to go 

in order to do so. 

J 3,ki 4hi t d ^ J 4 -^ 4 #- 3tl - * ^ 

Individual control of the fingers is developed in this exercise. In the first measure the third and fourth 
fingers play the two upper voices in quarter notes while the first and second fingers sustain the lower 
voices in whole notes. Be careful that the pressure on the lower notes does not decrease because of this 
movement of the third and fourth fingers. In the second measure, the fourth finger sustains a triad while 
the first, second and third fingers play the lowest voice. Practice slowly so that the last chord in the 
second measure can be sounded in tempo; smoothly and evenly. Play in all possible keys chromatically 
up and down the fingerboard. _ _ 



Go back through the book now, taking all exercises in which down-strokes only were used and practice 
them using up-strokes. Then practice them using up and down strokes alternately. WARNING: In 
crossing the strings with the pick, make sure the up-strokes are played just as quickly as the down strokes. 
Try to make them sound alike. 

- 39 - 


The purpose of this short etude is to show the practical application of some of the fingerings and 
exercises in this method. After studying this etude you will readily see which exercises and fingerings have 
been combined in forming this etude. 

You should try writing one of these every week, applying the following rules. Limit yourself to a 
certain number of exercises (five or six for example), varying the value of the notes any way you wish 
without changing the fingering. You can use any part of the exercises selected, from the smallest part to 
the whole exercise. Try to vary each etude from the rest. Remember you can not milk any of' the ex¬ 
ercises dry, as there is always a new way to twist them around. Keep them as simple as possible at first, for 
if they become too complicated it will be difficult to resolve them properly. Later on when your know¬ 
ledge and experience has been built up gradually through the construction of the simpler forms, you will 
be able to resolve more difficult situations. 

Solidity and construction should be the foremost thoughts. Keep them harmonious and melodic. Do 
not expect too much at first in developing these studies as it takes time and work to be able to write even 
a fairly good one each week. After constructing an etude write it out and save each one, so you will be able 
to check on your progress. One of the best features of this study is the fact that you can see your compo¬ 
sition on paper, thereby enabling you to study it thoroughly. This study brings out and develops your 
individuality, at the same time teaching you to write along practical lines for the guitar. 

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aii4J m hla I lire. Inrlurli^ the follivwing jtnijjic Avnton, ftiueit fit 
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Sinng, Plum Crum We, ftarfii) City Rhythm, String 42. 

Tn>uhl(uit Btylmt), ami /.ingamHi. 

Michael Hnnuwit?. 


Django Rciailiardis noiorkty a? a singj e-note soloist in a group 
enmlext bus nfien eclipsed IlU brilliant mmp<k$iitjn nN for r] if nnac- 
oompanid solo guitar. lhacctmfiaai&d Djftfigo indudestnuiswip 
I inn* im M aruiaid nnLal Lon and 1 ablslu re of I Jjangn’s n torili*aJ 
works lor unaccompanied guitar. Cyperotyle fingering and 
picking MJjnfMions aro ulr-n inriodcd. Tbr pieces in llii* book, are 
not only useful for performance, but also provide an ttaeMent 
means ibr studying die tochnupje and srvU* id Django HoinhaniT. 
Transcription*; are in boEJi standard nutation and tablature. 

Gxjpt^ Picking 

Midiad tlurowitr. 
(ill included 


Developing a solid right-hand picking technique is arguably 
the most difftaill hurdle in learning tu play (hi- guitar. 
Gypsy Picking explains in detail (be pwerful res(-sEroke 
picking technique used by Gypsy .musicians such as Django 
Ucinhardt. Storhelo ftusenberg. Rireli lagrene. and Fapy 
Lafertin. Includes o'ver 45 example? and a 5 chorus 
minor blues solo in belli lablalure and standard uotation- 
Gypsy-style fingering and picking suggestions are also 
included as is a CD with recordings of all the examples. 

Forthcoming Release* 

for rdriksr iliat^S of t\w.*r. forthcoming tmnk*. 

Ad idii/lth 1 ill ir divlhcn srnjjul as rJlr iMml l'i i n^Li ni<- ijCjhL skill d'ftj|IiM ja^i gullin' pLavici^. 

Gypsy Rhythm evplain*.1 ii great detail, (he proper righl-harirt technique, chord voicing*, and 
ji-L-KiiT paUerfis ii^ri h) and -rri-iilpiupo^rv rh)thm guitarist Trao^mptionM 

are m lahkmre n nBy- 

The Afgrfilinean guitarists (War Akm£a wa* odp rrf ihtt grear virtuosi* uf the Hwing nra. 
This book jjli'Ji ihIi 1 .'- hia. i.m h[u/: d/i , :in^i-tnpifir^ uf the following *w'mg and J^ejjl nm^>c limun? 
Mirif-hfi. ( .Vj j.v Crtart tifia (MftLtfigtiftift}. £krphf iO, f/jgO fJfgft jfJv'i. St Off*' Win (Arftf pi i>/ AfuirJ, 

JopZpk Jnsf:ph- Ru$*it IJt Ltoll&hy, SiYtf[\ii,'m, S'U^Pf fewg^rt Wmrj'r]. T5fV> ? Jr'"Hr jVo 

JiJfO, )h>jj Mrtdr Lnw Vnij. IVda'Lsi-irqpliona a/i- ill hnrh >I;d jl rI; l[*h d allil^JliiiiL a.nd l^hi^l 11 r-i-_ 

Mii$ir in standard nnrarinn and lablature (with rhmrrl charts for wnga na Pe^rl Django's Cl> 
.Snitj^ -ttf: Cfi * HfrAs, JDritthip A^jfrA, DrogOri/Ty., .tfufiftlY fwTidrD's. L U J Cfifl 4 t iJfJiPWP 

r^JOJ rrJ Low h i'i/j .M>, .Wfckfci£e 0« 47^pUSOil^ j' lJi'r.i f ipptifi -V^Kais ^iijvgl tftoFW, 

jaw/ Sftvffutf ypifj-, Su^L^r 2tf P Shilj^j^A. and Fp^rtaifty. Several Boons T\ad*i+ induded. 

I Jj/iin^liiiHjE Jji> career, Django Reinhardr-ckvelnped a vocabulary ol anus-lrul inborn or 
"[utkou" whirli he iisrd a^tlir bnilrllng idneks fur his imprwuatioLR. Thp (Wpsy Jazz 
rorrpjii JiooAf inchrdef dn^ena- nf Bjangn'ii heal patterns, transcribe! in both sl&ndard 
cih-I;iIliijl ami 1ahL; 

JW7 Intro* Gy/isy /(m buroj rtpjrf ^'?L^r?ig> inoludee drraens of ths amos-t conirannlr-iiSftd introductions 

AH*I Ending* and H ndings_ hransirilpad 1 1in m-T lv fmm iht- pilaving of Djangu fteinhurdr and ndipr notalih 

M idud How*; ^ pih , rt , u 

CD Includ'd 

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Songboch, Vol.l 

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